PHOTOG. 


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DESCRIPTIVE 


ZOOPRAXOGRAPHY 


OR THE SCIENCE OF ANIMAL LOCOMOTION 
MADE POPULAR 


BY 


EADWEARD MUYBRIDGE 


WITH SELECTED OUTLINE TRACINGS REDUCED FROM SOME OF 
THE ILLUSTRATIONS OF 


“ANIMAL LOCOMOTION” 


AN ELECTRO-PHOTOGRAPHIC INVESTIGATION OF CONSECUTIVE 
PHASES OF ANIMAL MOVEMENTS, COMMENCED 1872, 
COMPLETED 1885, AND PUBLISHED 1887, 

UNDER THE AUSPICES 
OF THE 


UNIVERSITY OF PENNSYLVANIA 


PUBLISHED AS A MEMENTO OF A SERIES OF LECTURES GIVEN BY THE AUTHOR 
UNDER THE AUSPICES OF THE UNITED STATES 
GOVERNMENT 


BUREAU OF EDUCATION 


AT THE 


WORLD’S COLUMBIAN EXPOSITION, 1vn ZOOPRAXOGRAPHICAL HALL 
1893 


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SOME OF THE SUBSCRIBERS 


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“ANIMAL LOCOMOTION.” 


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IN THE POSSESSION OF THE AUTHOR. 


TO ANIMAL LOCOMOTION. 


LIST OF SUBSCRIBERS 


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PREFACE. 


In the summer of 1892 while the Author was in 
California, preparing for a Lecturing tour through 
Australia and India, he received an invitation from the 
Fine Arts Commission of the World’s Columbian Ex- 
position to give a series of Lectures on ZOOPRAXOG- 
RAPHY in association with the Exposition now being 
held in Chicago. 

As these Lectures under the more familiar title of 
‘<The Science of Animal Locomotion in Its Relation 
to Design in Art’’ had already been given at nearly all 
the principal Institutions of Art, Science and Education 
in Europe and in the United States, (see appendix A) 
the Author was induced to believe that they might be 
repeated in a popular manner at the Exposition, with 


1 


2 ZOUPRAXOGRAPHY 


some appreciation of the importance of the facts which 
his investigation has revealed, not merely by the student 
of Nature or of Art, but by that large and important 
class uf students, known as the general public. 

Under this impression he delayed his far Occi- 
dental expedition and returned to Chicago to find a 
commodious theater erected for this special purpose on 
the grounds of the Exposition, to which the name of 
Zobpraxographical Hall had been given; the Science of 
Zodépraxography having had its origin in the Author’s 
first experiments in 1872. It is not intended in this 
monograph to give more than a synopsis of the usual 
course of Lectures on the subject, nor to reproduce 
any of the pictured or sculptured representations 
which are necessary for its proper elucidation, but 
merely to describe the common methods of limb action 
adopted by quadrupeds—especially by the horse—in 
their various acts of progressive motion, and to illus- 
trate the most important phases of these movements 
by tracings from the original photogravures of the 
Author’s work. | 

In the presentation of a Lecture on Zoépraxog- 
raphy the course usually adopted is to project, much 
larger than the size of life upon a screen, a series of 
the most important phases of some act of animal mo- 
tion—the stride of a horse, while galloping for ex- 
ample—which are analytically described. These suc- 
cessive phases are then combined in the Zoépraxiscope, 
which is set in motion, and a reproduction of the 
original movements of life is distinctly visible to the 
audience. | 

With this apparatus, horse-races are reproduced 

a | 


PREFACE. 3 


with such fidelity that the individual characteristics of 
the motion of every animal can readily be seen; flocks 
of birds fly across the screen with every movement of 
their wings clearly perceptible; two gladiators con- 
tend for victory with an energy which would cause the 
arena to resound with wild applause, athletes turn 

somersaults, and other actions by men, women and 
- children, horses, dogs, cats and wild animals, such as 
running, dancing, jumping, trotting and kicking, are 
illustrated in the same manner. By this method of 
analysis and synthesis the eye is taught how to ob- 
serve and to distinguish the differences between a true 
and a false impression of animal movements. The 
Zoépraxiscopical exhibition is followed by illuminated 
copies of paintings and sculptures, demonstrating how 
the movement has been interpreted by the Artists of 
- all ages; from the primitive engravers of the cave 
dwelling period, to the most eminent painters and 
sculptors of the present day. 


4 ZOOPRAXOGRAPHY > 


INTRODUCTION. 


In the year 1872, while the Author was engaged in his 
official duties as Photographer of the United States 
Government for the Pacific coast, there arose in the 
city of San Francisco one of those controversies upon 
Animal Locomotion, which has engaged the attention 
of mankind from the dawn of symbolical design, to 
the present era of reformation in the artistic expres- 
sion of animal movements. | 

The subject of this particular dispute was the possi- 
bility of a horse having all of his feet free of contact 
with the ground at the same instant, while trotting, even 
at_a high rate of speed, and the disputants were Mr. 
Frederick MacCrellish and the Hon. Leland Stanford. 

The attention of the Author was directed to this 
controversy and he immediatelv sought the means for 
its settlement. 

At this time the rapid dry plate had not yet been 
evolved from the laboratory of the chemist, and the 
problem before him was to develop a sufficiently in- 
tense and contrasted image upon a wet collodion plate, 
after an exposure of so brief a duration that a horse’s 
foot moving with a velocity of more than a hundred 
lineal feet in a second of time, should be photographed 
practically ‘‘sharp.’’ 

A few days’ experimenting and about a dozen neg- 
atives, with a celebrated fast trotter—:‘‘ Occident ’’— 
as a model, while trotting at the rate of a mile in two 


INTRODUCTION. 5 


minutes and sixteen seconds, laterally in front of the 
camera, decided the argument for once and for all 
time in favor of those disputants who held the opinion 
that a horse while trotting was for a portion of his 
stride entirely free from contact with the ground. 
With a knowledge of the fact that some horses while 
trotting will make a stride of twenty feet or more in 
length, it is difficult to understand why there should 
ever have been any difference of opinion on the subject. 

These first experiments of Zodpraxography were 
‘made at Sacramento, California, in May, 1872. A 
few impressions were printed from the selected nega- 
tive for private distribution, and were commented upon 
by the ‘‘Alta California,’’ a newspaper published in 
San Francisco. ; 

Thus far the photographs had been made with a 
single camera, requiring a separate trotting for each 
exposure. The horse being of a dark color and the 
background white, the pictures were little better than 
silhouettes, and it was difficult to distinguish, except 
by inference, the right feet from the left. 

Several phases of as many different movements had 
been photographed, which the Author endeavored 
with little success to arrange in consecutive order for 
the construction of a complete stride. 

It then occurred to him that if a number of cameras 
were placed in a line, and exposures effected succes- 
sively in each, with regulated intervals of time or of 
distance, an analysis of one single step or stride could 
be obtained which would be of value both to the 
Scientist and the Artist. 

The practical application of this system of photo- 


6 ZOOPRAXOGRAPHY 


graphing required considerable time for its develop- 
ment, and much experimenting with chemicals and 
apparatus. | 

It being desirable that the horses used as models 
should be representatives of their various breeds, and 
the Author not being the owner of any that could be 
fairly classed as such, obtained the cooperation of 
Mr. Stanford, who owned a fine stud of horses at his 
farm at Palo Alto, and there continued his labors. 

The apparatus used at this stage of the inves- 
tigation was essentially the same 4s that subsequently 
constructed for the University of Pennsylvania, the 
arrangement of which will be described further on. 

Some of the results of these early experiments which 
illustrated successive phases of the action of horses 
while walking, trotting, galloping, &c., were published 
in 1878, with the title of ‘«*The Horse in Motion.” 
Copies of these photographs were deposited the same 
year in the Library of Congress at Washington, and 
some of them found their way to Berlin, London, 
Paris, Vienna, &c., where they were criticized by the — 
journals of the day. 

In 1882 the Author visited Europe and at a recep- 
tion given him by Monsieur Meissonier was invited by 
that great painter to exhibit the results of his labors to 
his brother Artists who had assembled in his studios for 
that purpose. M. Meissonier was the first among 
Artists to acknowledge the value to Art design of the 
Author’s researches; and upon this occasion, alluding 
to a full knowledge of the details of a subject being 
necessary for its truthful and satisfactory translation 
by the Artist, he declared how much his own im- 


INTRODUCTION 7 


pression of a horse’s motion had been changed after a 
careful study of its consecutive phases. 

It is scarcely necessary to point out, in confirmation 
of M. Meissonier’s assertions, the modifications in the 
expression of animal movements now progressing in 
the works of the Painter and the Sculptor, or to the 
fact of their being the result of studious attention to 
the science of Zoépraxography. 

In the same year, during a lecture on ‘‘The Sci- 
ence of Animal Locomotion in Its Relation to Design 
in Art,”’ given at the Royal Institution (see Proceed- 
mgs of the Royal Institution of Great Britain, March 
13, 1882), the author exhibited the results of his exper- 
iments at Palo Alto, when he, with the Zodpraxiscope 
and an oxy-hydrogen lantern, projected on the wall a 
synthesis of many of the actions he had photographed. 

It may not be considered irrelevant if he repeats 
what he on that occasion said in his analysis of the 
quadrupedal walk :— 

‘<So far as the camera has revealed, these success- 
ive foot fallings are invariable, and are probably com- 
mon to all quadrupeds. ... . 

‘¢It is also probable that these photographic investi- 
gations—which were executed with wet collodion 
plates, with exposures not exceeding in some instances 
the one five-thousandth part of a second—will dispel 
many popular illusions as to the gaits of a horse, and 
future and more exhaustive experiments, with the ad- 
vantages of recent chemical discoveries, will completely 
unveil all'the visible muscular action of men and ani- 
mals even during their most rapid movements. .. . 

‘<The employment of automatic apparatus for the 


Rae ie ZOOPRAXOGRAPHY 


purpose of obtaining a regulated succession of photo- 
graphic exposures is too recent for it to be generally used 
for scientific experiment or for its advantages to 
be properly appreciated. At some future time the 
philosopher will find it indispensable for many of his 
investigations. ”’ 

The great interest manifested in the results of his 
preliminary labors convinced the Author that a com- 
prehensive and systematic investigation with improved 
mechanical appliances, and newly-discovered chemical 
manipulations, would demonstrate many novel facts, 
not only interesting to the casual observer, but of in- 
disputable value to the Artist and to the Scientist. This 
investigation and the subsequent publication in the 
elaborate manner determined upon, assumed such im- 
posing proportions, and necessarily demanded so large 
an expenditure, that all publishers, not unnaturally, 
shrank from entering the unexplored field. | 

In this emergency, through the influence of its 
Provost, Dr. William Pepper, the University of Penn- 
sylvania with an enlightened exercise of its functions 
as a contributor to human knowledge, instructed the 
Author to make, under its auspices, a comprehensive 
investigation of ‘¢ Animal Locomotion ”’ in the broadest 
significance of the words, (see appendix B) and some 
of the Trustees and friends of the University constituted 
themselves a committee for the purpose of promoting 
the execution of the work. These gentlemen were Dr. 
William Pepper, Chas. C. Harrison, J. B. Lippincott, 
Edw. H. Coates, Samuel Dickson and Thomas Hockley. 

The Author acknowledges his obligations to these 
gentlemen for the interest they took in his labors; for 


INTRODUCTION 9 


without their generous assistance the work would - 
probably never have been completed; the total amount 
expended—nearly forty thousand dollars—being en- 
tirely beyond his own resources. To Drs. F. X. Der- 
cum, Geo. F. Barker and Horace Jayne, of the Univer- 
sity, the Author is also indebted for much valuable 
assistance. . 


— 


ZOOPRAXOGRAPHY. 


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STUDIO, APPARATUS, AND METHOD OF 
WORKING. 


For a proper appreciation of the care taken in the 
Investigation of Animal Locomotion at the University 
of Pennsylvania to ensure accurate record of the con- 
secutive phases of the various movements, attention to 
the system adopted is necessary. 

In the diagram, B is the Lateral background; con- 
sisting of a shed 37 metres or about 120 feet, long, 
the front of which is open, and divided by vertical and 
horizontal threads into spaces 5 centimetres, or about 2 
inches, square, and by broader threads into larger 
spaces 50 centimetres, or about 19? inches, square. 

At C and C, 37 metres, or about 120 feet, apart 
are ‘‘ fixed’ backgrounds, with vertical threads 5 cen- 
timetres, or about two inches, from their centres, with 
broader threads 30 centimetres, or about 12 inches, 
from their centres. 

For some investigations, readily distinguishable in 
the plates, ‘‘ portable’’ backgrounds are used, consist- 
ing of frames 3 metres wide by 4 metres high,—about 
10 feet by 13 feet 4 inches,—over some of which black 
cloth and over others white cloth is stretched, all being 
divided by vertical and horizontal lines into square 
spaces of the same description as those of the lateral 
background. 

These portable backgrounds are used when photo- 


11 


12 ZOOPRAXOGRAPH Y 


graphing birds and horses, and also wild animals when 
possible to do so. 

L. A lateral battery of 24 automatic electro-photo- 
graphic cameras, arranged parallel with the line of 
progressive motion, and usually placed therefrom about 
15 metres or 49 feet. 

Slow movements are usually photographed with 
lenses of 3 inches diameter and 15 inches equivalent 
focus; the centres of the lenses being 15 centimetres, 
or about 6 inches, apart. 

Rapid movements are usually photographed with a 
portable battery of cameras and smaller lenses. 

The centre, between lenses 6 and 7, is opposite the 
centre of the track T. 

For illustrations comprising both ‘‘ Laterals’’ and 
‘¢Foreshortenings,’’ cameras 1 to 12 only are used. 

When ‘ Laterals’’ alone are required, cameras 13 
to 24 are connected with the system and used in their 
regular sequence. 

R. A portable battery of 12 automatic electro-pho- 
tographic cameras, the lenses of which are 14 inches 


diameter and 5 inches equivalent focus; the lenses are 


arranged 74 centimetres, or about 3 inches, from their 
centres. When the battery is used vertically, lens 6 
is usually on the same horizontal plane as the lenses of 
the lateral battery. 

In the diagram this battery is arranged vertecally 


for a series of ‘‘ Rear Foreshortenings,’’ the points of — 


view being at an angle of 90 degrees from the lateral 
battery. 

F. A battery of 12 automatic electro-photographic 
cameras, similar to that placed at R, arranged horizon- 


See ee 


ARRANGEMENT OF APPARATUS 13 


tally for ‘‘Front Foreshortenings,’’ the points of 
view averaging an angle of 60 degrees from the 
lateral battery. 

O. The position of the operator; the electric bat- 
teries; the chronograph for recording the intervals of 
time between each successive exposure; the motor for 
completing the successive electric circuits, and other 
apparatus connected with the investigation. 

TT. The track parallel with the lateral battery 
and covered with corrugated rubber flooring. 

M. The model, approaching the point number ‘‘1”’ 
on the track where the series of photographic illustra- 
tions will commence. 

An estimate having been made of the interval of 
time which will be required, between each photo- 
graphic exposure, to illustrate the complete movement, 
or that portion of the complete movement desired, the 
apparatus is adjusted to complete a succession of elec- 
tric circuits at each required interval of time, and the 
motor is set in operation. When the series is to illus- 
trate progressive motion; upon the arrival of the model 
at the point marked ‘‘1’’ on the track, the operator, 
by pressing a button, completes an electric circuit, 
which immediately throws into gearing a portion of 
the apparatus hitherto at rest. By means of suitably 
arranged connections, an electric current is transmitted 
to each of the 3 cameras marked ‘‘1”’ in the various 
batteries, and an exposure is simultaneously made on 
each of the photographic plates, respectively, contained 
therein. At the end of the predetermined interval of 
time, a similar current is transmitted to each of the 
cameras marked ‘‘2,’’ and another exposure made on. 


14 ZOOPRAXOGRAPHY 


each of the 3 next plates, and so forth until each series 
of exposures in each of the three batteries is completed. 
Assuming the operator to have exercised good judg- 
ment in regulating the speed of the apparatus, and in 
making the first electric contact at the proper time, 
and that the figures 1 to 12 represent the distance 
traversed by the model in executing the movement 
desired, the first three photographic exposures — that 
is, one exposure in each battery — will have been syn- 
chronously made when the model was passing the 
position marked ‘‘1”’ on the track T; the second three 
exposures will have been made when the model was 
passing the position marked ‘‘2,’’? and so on until 
twelve successive exposures were simultaneously made 
in each of the three batteries. This perfect uni- 
formity of time, speed, and distance, however, was not 
always obtained. 

When this monograph was commenced it was not 


intended by the author to give any more than a general ~ 


idea of the method adopted for obtaining the results of 
his investigation; it has, however, been considered that 
a few illustrations and brief description of the appa- 
ratus devised and used by him may not be without in- 
terest to other students. 

For the use of these illustrations he is indebted to 
the courtesy of Rev. Jesse Y. Burk, the Secretary of 
the University, and to J. B. Lippincott Company, the 
publishers of ‘‘The Muybridge Work at the Univer- 
sity of Pennsylvania,’’? a book which contains, among 
other essays upon the subject, ‘‘ Materials for a 
Memoir on Animal Locomotion, by Harrison Allen, 
M. D.,”? and “A Study of Some Normal and 


LS 


APPARATUS. 15 


Abnormal Movements, by Francis X. Dercum, M.D., 
‘ds Bag 

Figure 1 is a view of the building containing the 
lateral battery of twenty-four photographic cameras, 
all of which were used when as many consecutive 
phases of an act of motion were required. 

Immediately in front of each of these cameras, and 
detached therefrom, was placed an electro-photographic 
exposor, a side section of which is represented by 
Figure 2, in which A is a continuous band of thin 


ft 


Fig. 1. 


rubber cloth impervious to light; the edges of which 
are bound with strong tape, and arranged to run ina 
groove, and over two rollers RR which are attached to 
a frame. 

In this endless band are two apertures OO of suit- 
able size, and so arranged that their full openings as 
they pass each other shall simultaneously take place in 
front of the center of the lens L. 

The upper and lower edges of these apertures are 
kept taut by light steel rods attached to the tape binding. 


16 ZOOPRAXOGRAPHY 


To the lower rod of the front aperture is fastened 
a ring C and a cleat, to which some elastic rubber 
bands B are attached; these bands are easily removable 
and their number increased at discretion; in some 
instances of rapid exposures a tension of twenty-five 
pounds or more was 
required. On ashelf 
of the frame is a 
magnet M, over the 
top of which is 
arranged a steel 
_ lever G pivoted near 
the end D which 
terminates with a 
slightly indented 
projection. 

The armature of 
themagnetis pivoted 
at H; its upper arm 
terminates with a 
shoulder I. § is a 
spring to prevent 
the accidental shift- 
ing of the shoulder 
from its contact with 
the lever when the 
: exposor is ready for 

Fig. 2. its function. N isa 
set screw to adjust the distance of the armature from 
the magnet. To prepare for a series of photographic 
exposures — the plates having been already placed in 
the cameras —the end of the lever G is placed under 


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APPARATUS 17 


the shoulder I; the endless curtain is revoived until the 
front aperture O is raised to its proper position, when 
the ring C is hooked upon the projecting point D. A 
cord attached to the rubber bands B is drawn around 
the pulley P, and a ring at its end is slipped over a 
pin, which keeps the spring at a proper state of ten- 
Seen sion. Upon the com- 
\ ic pletion of an electric 

} circuit the armature is 
drawn towards the 
magnet; the end of the 
lever is released from 
its contact with the 
shoulder; the ring 
C is released from the 
projecting point D; the 
front of the endless 
curtain is drawn rap- 
idly downward; the 
apertures meet in the 
center of the _ lens, 
* form a gradually ex- 
; panding and then con- 
tracting diaphragm, 
| and the exposure is 
Fig. 3. made. <A front view 

of three electro-photographic exposors is seen in 
Figure 3. The first of these represents the exposor 
set and ready for an exposure; the second shows 
the meeting of the apertures at the commencement 
of an exposure; the third, their position near the 
completion of the exposure, they having in the mean- 


18 ZOOPRAXOGRAPHY 


while uncovered the lens to their full capacity. 

Figure 4 illustrates a portable battery of twelve 
electro-photographic exposors; it consists of a rectan- 
gular box divided into compartments, open at the front 
and rear. 

In twelve of these compartments are arranged 
rollers, curtains, magnets, etc., as previously described, 
and a compartment through which a focusing lens is 
used. The two end compartments provide for the 
adjustment of the camera, which is supported in the 
box to the rear of the exposing arrangements. A 


Fig. 4. 


cable of insulated wires for connecting the twelve mag- 
nets with the exposing motor, contains a wire for the 
return current. As seen in the engraving, seven of 
the magnets by the passage of their respective cur- 
rents have completed their releasing operations. In 
the eighth compartment the two apertures in the 
exposing band are in the act of effecting an exposure. 
The remaining four magnets are awaiting their turn 
for action. | 

Figure 5 is a photographic camera divided into 


APPARATUS 19 


thirteen compartments, each having a lens of the same 
construction, and the same focal length; these are 
arranged to correspond with the compartments in the 
electro-exposors. 

One of the lenses is provided with a focusing 
screen, and with it the other twelve lenses are 
adjusted to a proper focus without removing the plate 
holder behind them from its position in the camera. 

The plate holder is constructed to hold three dry 
plates, each three inches by twelve inches; the front is 
divided into twelve compartments, each three inches 
square. 


Fig, 5. 


Light is excluded from the front by a roller blind, 
strengthened by thin narrow slats of hard wood; the 
blind works in grooves, is drawn over a concealed 
roller, and covers the back of the holder when the 
plates are being exposed. 

Figure 6 is a rear and side view of the circuit 
maker, conventionally called the exposing motor. 

The motive power is an adjustable weight attached 
to a cord which is wound around a drum. Twenty- 
four binding posts are attached to the table at 


20 ZOOPRAXOGRAPHY 


the back of the exposing motor; other binding posts 
are arranged for return or other currents. 

Figure 7 illustrates a front and side view of the 
upper part of the exposing motor. Fastened to the 
frame is a ring of hard rubber, in which are inserted 
twenty-four insulated segments of platinum-coated 


Fig. 6, 


brass; these segments are connected by insulated wires 
to the twenty-four binding posts on the back of the 
motor table, figure 6. 

A shaft, connected by an arrangement of geared 
wheels to the drum, passes through the center of the 
segmented ring and carries a loose collar; a stout metal 


: APPARATUS 21 


rod is firmly attached near its longitudinal center tc 
this loose collar. 
One arm of the rod 
Garries a lami- 
nated metal scraper, 
or contact brush, 
arranged to travel 
around the periph- 
ery of the ring, and 
in its revolution to 
make contact with 
each segment in suc- 
cession. The con- 
tact brush is con- 
= nected through the 
Fig. 7. arm with one pole 
of the battery; and 
each segment— 
through its inde- 
pendent wire and 
magnet of the 
electro - exposors — 
with the other pole. 
W hen twenty- 
four consecutive 
phases of an act of 
motion are to be 
-photographed from 
one point of view, 
all of the insulated (HAAN =n 
segments in the ring Fig. 7. 
are put in circuit. When twelve consecutive phases 


22 ZOOPRAXOGRAPHY 


are to be photographed synchronously from each of: 
three points of view, each alternate segment is placed 
in circuit with the electric battery. — 

The manner in which the series of synchronous 
exposures is effected will be readily understood by 
reference to the diagram, 8. 

ANIMAL LOCOMOTION. 


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EXPOSURESSYNCHRONOUSLY:FROMSE VERALPONTSOF ‘VIEW, 


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All being in readiness, and the weights and fan 
wheel adjusted to cause the contact brush to sweep 
over the periphery of the ring at the required rate of 
speed, the drum, and with it the shaft is set in motion. 


] 


APPARATUS 23 


At the proper time, pressure on a button com- 
pletes an independent circuit through the magnet 
seen below the segmented ring, figure 7, and in the 
side diagram of figure 8. , 

The action of the armature releases the lower end 
of the rod on the loose collar, which, by means of a 
coiled spring, is immediately thrown into gearing with 
the already revolving shaft; the contact brush sweeps 
around the segmented ring and effects the consecutive 
series of exposures at the pre-arranged intervals of 
time. 

At the University the intervals varied from the 
one-sixtieth part of a second to several seconds. 

A record of these time intervals was kept by a 
chronograph, a well known instrument; it comprises a 
revolving drum carrying a cylinder of smoke-black- 
ened paper, on which, by means of successive electric 
contacts, a pencil is caused to record the vibrations of 
a tuning fork, while a second pencil marks the com- 
mencement of each photographic exposure. The num- 
ber of vibrations occurring between any two successive 
exposures marks the time. The tuning fork used 
made one hundred single vibrations in a second of 
time. To ensure greater minuteness and accuracy in 
the record, the vibrations were divided into tenths, and 
the intervals calculated in thousandths of a second. 

For the purpose of determining the synchronous 
action of the electro-exposors while making a double 
series of exposures, the accuracy of the time intervals 
as recorded by the chronograph, and the duration of the 
shortest photographic exposures used in the investiga- 
tion, the two batteries of portable cameras were placed 


24 ZOOPRAXOGRAPHY 


side by side, and the exposors were each connected with 
the exposing motor by separate lengths of a hundred feet 


of cable. The two series of cameras were pointed to a — i 


rapidly revolving disc of five feet diameter. The surface 
of the disc was black, with narrow white lines radiating 
from the center to the edge like the spokes of awheel. A 
microscopic examination of the two series of resulting 
negatives proved that no variation could be discovered 
in the sychronous action of ten of the duplicated series 
of exposures, and that in the remaining two a variation 
existed in the simultaneity of a few ten-thousandths of 
a second —a result sufficiently near to simultaneity 
for all ordinary photographic work. 


Fig. 9. 

A reproduction of the chronographic record of one 
of these experiments is seen in figure 9. 

The first line records the revolution of the disc; the 
second the vibration of the tuning fork; and each 
group of three long double markings in the third line 
indicates a photographic exposure. 


The shortest exposures made at the University — 


were — approximately — the one six-thousandth part 
of a second; such brief exposures are however for this 
class of investigation very rarely needed. : 
Some horses galloping at full speed will, for a 
short distance, cover about fifty-six or fifty-eight feet 


APPARATUS 25 


of ground in a second of time; a full mile averaging 
perhaps a hundred seconds. At this speed, a foot re- 
covering its loss of motion will be thrust forward with 
an occasional velocity of at least 120 lineal feet in a 
second of time. : 

During the one one-thousandth part of a second the 
body of the horse will at this rate move forward about 
seven one-tenths of an inch, and a moving fgot perhaps 
one and a half inches, not a very serious matter for the 
usual requirements of the amateur photographer. 

A knowledge of the duration of the exposures, 
however, was in this investigation of no value, and 
scarcely a matter of curiosity, the aim always being to 
give as long an exposure as the rapidity of the action 
would permit, with a due regard to the necessary 
sharpness of outline, and essential distinctness of detail. 

The power used for operating the magnets, through 
the exposing motor, was given from a 1lé Clanché 
battery of fifty-four cells, arranged in multiple arc a 
three series, each of eighteen cells. 

During the investigation at the University of Penn- 
sylvania, more than a hundred thousand photographic 
exposures were made. 

The negative plates were supplied by the Cramer | 
Dry Plate Company of St. Louis, and the positive 
plates by the Carbutt Company of Philadelphia. On 
a favorable day five hundred or six hundred negatives 
were sometimes exposed: on one day the number of 
exposures reached seven hundred and fifty. 

The electrical manipulations were directed by Lino 
F. Rondinella; the development room was in charge of 
Henry Bell. The author takes pleasure in acknowl- 


26 ZOOPRAXOGRAPHY 


edging the skill, patience and energy which these gen- 
tlemen exhibited in their respective fields of labor. 

Although the one six-thousandth part of a second 
was the duration of the most rapid exposure made in 
this investigation, it is by no means the limit of 
‘mechanically effected photographic exposures, nor does 
the one-sixtieth part of a second approach the limit 
of time intervals. Marey, in his remarkable physiologi- 
cal investigations, has recently made successive eXpos- 
ures with far less intervals of time; and the author has 
devised, and when a relaxation of the demands upon 
his time permit, will use an apparatus which will 
photograph twenty consecutive ‘phases of a single 
vibration of the wing of an insect; even assuming as 
correct a quotation from WVicholson’s Journal by Petti- 
grew in his work on Animal Locomotion that a com- 
mon house fly will make during flight seven hundred 
and fifty vibrations of its wings in a second of time, a 
number probably far in excess of the reality. 

The ingenious gentlemen who are persistently en- 
deavoring to overcome the obstacles in the construc- 
tion of an apparatus for aerial navigation, will perhaps 
some day be awakened by the fact that the only suc- 
cessful method of propulsion will be found in the action 
of the wing of an insect. : 

We will now resume the subject proper of this — 
monograph. 

It is impossible within its limits to trace the history 
of the art of delineating animals in motion, or to 
illustrate it with examples of the truthful impressions of 
the primitive Artists, or of the imaginative and erro- 
neous conceptions of many of those of modern times, — 


THE WALK 27 


Certain phases of the facts of Animal Locomo- 
tion will alone be treated upon, as demonstrated by 
photographic research. ; 

The illustrations and condensed definitions of the 
various gaits were prepared by the Author for the 
‘Standard Dictionary.’’ Before studying these it is 
essential that the meaning of the terms step and stride 
should be distinctly understood. 

A STEP is an act of progressive animal motion, in 
which one of the supporting members of the body is 
thrust in the direction of the motion and the support 
transferred, wholly, or in part, from one member to 
another. 

A STRIDE is an act of progressive animal motion, 
which, for its completion, requires all of the support- 
ing members of the body, in the exercise of their 
proper functions, to be consecutively and regularly 
thrust in the direction of the movement until they hold 
the same relative positions in respect to each other as 
they did at the commencement of the notation. In 
the bipedal walk or run a step is one-half of a stride 
or full round movement. With all quadrupeds, except 
_the kangaroo and other jumpers, jour steps are nec- 
essary to complete the stride. 


THE WALK. 


The waLk is a method of progressive motion with a 
regular individual succession of limb movements. In 
the evolution of the terrestrial vertebrates the walk was 
probably the first adopted method of locomotion, and 
its execution is regulated by the law that the move- 
ment of the superior limb precedes the movement of 


28 ZOOPRAXOGRAPHY 


its lateral znferior limb. This is proved not merely | | 


by the ordinary quadrupedal walk, but by the sus- 


pended motion of the sloth; the crawling of the child — 


upon the ground, the erect walk of man; and the in- 
verse limb movements of the ape tribe. 


The relative time intervals of the foot-fallings vary — 


greatly with many species of animals, and even with 
the same animal under different conditions. 


Selecting the horse for the purpose of illustration — 
we find that during the walk—his slowest progressive — 
movement—he has always two, and for a varying © 
period of time, or distance, three feet on the ground — 
at once, while during a very slow walk the support — 


will devolve alternately upon three feet and upon four 
feet. 


If the notation of the foot-fallings commences — 
with the landing of the right hind foot, the order in ~ 


SOME CONSECUTIVE PHASES OF THE WALK, 


THE WALK 29 


which the other feet are placed upon the ground will 
be: the right fore, the left hind, and the left fore, 
commencing again with the right hind. 

Assuming that our observation of the stride of a 
horse during an ordinary walk commences with the 
landing of the right hind foot, the body will then be 
supported by both hind and the left fore feet. The 
left hind is now lifted, the support of the body de- 
volves upon the diagonals—the right hind and left 
fore—and continues so supported until the left hind 
is in the act of passing to the front of the right; when 
the right fore is next placed on the ground. The left 
fore is now raised, and the body is supported by the 
right laterals, until the landing of the left hind foot 
relieves its fellow hind of a portion of its weight. 
Two steps or one-half of a stride have now been made, 
and with the substitution of the right feet for the left, 
two other steps will be executed in practically the 
Same manner, and a full stride will have been com- 
pleted. We thus see that during the walk a quadruped 
is supported by eight different methods, the support- 
ing limbs being consecutively: 

Both hind and left fore. 

Right hind and left fore diagonals. 

Right hind and both fore. 

Right hind and right fore laterals. 

Both hind and right fore. 

Left hind and right fore diagonals. 

Left hind and both fore. 

Left hind and left fore laterals. 

Followed as at the commencement with both hind 
and left fore. 


30 ZOOPRAXOGRAPHY 


When, therefore, during a walk, a horse is sup: 
ported on two legs, with two feet suspended between 
them, each pair are laterals. On the other hand, when 
the suspended feet are respectively in advance of, and 
behind the supporting legs, each pair are diagonals. 

These invariable rules have been unknown or 
ignored by many distinguished artists of modern 
times. 


THE AMBLE. 


The amble is a method of progressive motion with 
the same sequence of foot fallings as the walk, but in 
which a hind foot or a fore foot is lifted from the 
ground in advance of its fellow hind foot or its fellow 
fore foot being placed thereon. The support of the 
body therefore devolves alternately upon a single foot 
and upon two feet; the single foot being alternately a 
hind foot and a tore foot, and the two feet being alter- 
nately laterals and diagonals. At no time is the body 
entirely unsupported. 

The following series of illustrations will clearly 
demonstrate the consecutive foot fallings and some 
characteristic phases of an ambling stride: 


THE AMBLEH ol 


SOME CONSECUTIVE PHASES OF THE AMBLE. 


The amble has various local names, such as the 
‘single foot,’’ the ‘‘fox trot,’’ etc. It has sometimes 
been erroneously confused with the rack or the so- 
called “pace;’’ it is the most gentle and agreeable to 
the rider of all methods of locomotion of the horse, 
while the rack is the most ungraceful and disagreeable. 

In Scott’s romances are many allusions to the 

‘ambling palfry.’’ Ben Jonson in ‘‘Every Man in 
His Humor’’ speaks of going ‘‘ out of the old hackney- 
pace to a fine, easy amble,’’ and Dickens in ‘‘ Barnaby 
Rudge”’ refers to ‘‘the gray mare breaking from her 
sober amble into a gentle trot.”’ 

The ambling gait is natural to the elephant, and to 
the horse, the mule and the ass; but in many countries 
these latter animals are not encouraged in its use. 


32 ZOOPRAXOGRAPHY 


THE TROT. 


The trot is a more or less rapid progressive motion 
of a quadruped in which the diagonal limbs act nearly 
simultaneously in being alternately lifted from and 
placed on the ground, and in which the body of the 
animal is entirely unsupported twice during each 
stride. 

Selecting for the purpose of illustration the phases 
occurring during two steps or one-half of a stride of 
18 feet in length by a horse trotting at the rate of a 
mile in two minutes and twelve seconds, we find that at 
the instant his right fore foot strikes the ground, the left 
hind foot is a few inches behind the point where it will 
presently strike. As the feet approach the ground, 
the right hind leg is drawn forward with the pastern 
nearly horizontal, while the left fore leg is flexed un- 
der the body. After the feet strike the ground and 
the legs approach a vertical position the pasterns are 
gradually lowered, and act as springs to break the 
force of the concussion until they are sometimes bent 
to aright angle with the legs. 

At this period the fore foot is raised go high as 
to frequently strike the elbow, while the diagonal * 
hind foot is comparatively but little above the ground, 
and is about to pass to the front of the left hind. 

The pasterns gradually rise as the legs pass the 
vertical until the right fore foot has left the ground 
and the last propelling force is being exercised by the 
left hind foot; which accomplished, the animal is in 
mid air. | 

The right hind foot continues its onward motion 


THE TROT 33 


until it is sometimes much in advance of its lateral 
fore foot, the former, however, being gradually low- 
ered, while the latter is being raised. The right hind 
and both fore legs are now much flexed, while the left 
hind is stretched backwards to its greatest extent with 
the bottom of the foot turned upwards, the left 
fore leg is being thrust forwards and gradually 


SOME CONSECUTIVE PHASES OF THE TROT. 


straightened, with the toe raised as the foot approaches 
the ground; which accomplished, with a substitution 
of the left limbs for the right, we find them in the 
same relative positions as when we commenced our 
examination, and one-half of the stride is completed. 

With slight and immaterial differences, such as 
might be caused by irregularities of the ground, these 


34. ZOOPRAXOGRAPHY 


movements are repeated by the other pair of diagonals, 
and the stride is then complete. 

If the stride of a trotting horse is divided into two 
portions, representing the comparative distances tray- 
ersed by the aggregate of the body while the feet are 
in contact with, and while they are entirely clear of, 


the ground, the relative measurements will be found — 


to vary very greatly, they being contingent upon length 
of limb, weight, speed, and other circumstances. 
Heavily built horses will sometimes merely drag 
the feet just above the surface, but, in every instance 
of a trot, the weight of the body is really unsupported 
twice during each stride. It sometimes happens that 
a fast trotter, during the four steps of a stride, will 


have all his feet clear of the ground for a distance ex- 


ceeding one-half of the length of the entire stride. 
Upon landing, a fore foot almost always precedes its 
diagonal hind. 

It will be observed in the illustrations that while 
during the fast trot the fore feet are lifted so high that 
they frequently strike the breast, the hind feet are 
raised but little above the surface of the ground. The 
trot is common to all the single-toed and to nearly 
all the cloven-footed and soft-footed animals. It has, 
however, not been recorded as being adopted by the 
elephant, the camel, or the giraffe. 


THE RACK. 
: 


The rack, sometimes miscalled the ‘Space,’ is a 
method of quadrupedal locomotion in which two lateral 
feet with nearly synchronous action are placed upon 
and lifted from the ground alternately with the other 


ee eT i oe 


Ce. | és 


THE RACK 3D 


laterals, the body of the animal being in the intervals 
entirely without support. The distance which the 
propelling feet hurl the animal through the air de- 
pends, as with other movements, upon a variety of 
circumstances; at a high rate of speed the distance will 
be about one-half the total length of the stride. Upon 


7 
Sol ; 
te 


SOME CONSECUTIVE PHASES OF THE RACK. 


landing, a hind foot usually precedes its lateral fore. 

The rack is an ungraceful gait of the horse, and 
disagreeable to those who seek comfort in riding. 

The movements hitherto described are regular in 
their action, and a stride may be divided into two 
parts, each of which—with a change of limbs—is 
practically similar to the other; we now come to meth- 
ods of progression which cannot be so divided, and 
each stride must be considered as a unit of motion. 


36 | ZOOPRAXOGRAPH Y 


THE CANTER. 


In the canter we discover the same sequence of foot 
fallings as in the walk, but not with the same harmoni- 


ous intervals of time. The gait resembles the gallop 
in respect to its leaving the horse entirely unsupported 


for a varying period of time, and in the fact that the 
spring into the air is always effected from a fore foot, 
and the landing upon the diagonal hind foot; in other 
respects it materially differs from that method of pro- 
gression. 

Assuming that during a stride of the canter a horse 
springs into the air from a left fore foot, the right 
hind foot will first reach the ground; the two fore legs 
will at this time be flexed under the body, the right 
being the first landed, and for a brief period of time 
the support will devolve upon the laterals. The right 
fore foot is rapidly followed by the left hind. During 
a very slow canter the other fore foot will sometimes 
be landed in advance of the lifting of its diagonal, and 
the curious phase presented of all of the feet being in 
contact with the ground at the same instant. Usually, 
however, the first hind foot to touch the ground will 
be lifted, and the support thrown upon the diagonals. 

The left fore is now brought down, and is followed 
by the lifting of the right fore; when the left laterals 
assume the duty of support. The left hind is now 
raised, and with a final thrust of the left fore foot the 
animal is projected into the air, to land again upon its 
diagonal, and repeat the same sequence of movements. 

The above phases are selected from a single com- 
plete stride, in which the landing occurs on the right 


THE CANTER 37 


hind foot. Had the horse sprung from a right fore 
foot, the right and left feet would have been reversed 
through the entire series. 


SOME CONSECUTIVE PHASES OF THE CANTER. 


THE GALLOP. 


The gallop is the most rapid method of quadrupedal 
motion; in its action the feet are independently brought 
to the ground; the spring into the air as in the canter 
is effected from a fore foot, and the landing upon the 
diagonal hind foot. 

The phases illustrated are selected from the stride 
of a thorcugh-bred Kentucky horse, galloping at the 
rate of a mile in a hundred seconds, with a stride of 
about twenty-one lineal feet. 

The length of stride and the distance which the 


BG Wt ZOOPRAXOGRAPHY 


body is carried forward without support depend upon 
many circumstances, such as the breed, build and con- 
dition of the horse, speed, track, ete. 

The phases illustrated and the measurement given 
apply to one stride of one horse, but may be consid- 
ered as fairly representing the stride of a first-class 
horse in prime racing condition at the height of his 
speed, upon a good track. 

Assuming—as in this instance—the springing into 
the air to have been effected from the right fore foot, 
the landing will take place in advance of the centre of 
gravity, upon the diagonal, or left hind foot; above, will 
be suspended the right hind foot, and at a higher ele- 
vation, several inches to the rear, will be the right fore 
foot, with the sole turned upward. The left fore leg 
will be in advance of the right, and also flexed. The 


force of the impact and the weight of the horse causes _ 


the pastern to form a right angle with the leg, and the 
heel is impressed into the ground. 

The right hind foot strikes the ground and shares _ 
the weight of the body. The left hind foot leaves the - 
ground while the right hind pastern isin its horizontal 
phase, supporting all the weight At this period the left 
fore leg is perfectly straight, with the toe much higher 
than the heel, and is thrust forward until the pastern 
joint is vertical with the nose, the right fore knee is 
bent at a right angle. The left fore foot now strikes 
and these diagonals are for a brief period upon the 
ground together. The left fore leg, however, immedi- 
ately assumes the entire responsibility of support and 
attains a vertical position, with the pastern at a right 

angle. The right fore leg’ becomes perfectly rigid, 


THE GALLOP . 39 


and is thrust forward to its fullest extent. The right 
fore foot now strikes the ground, the two fore legs 
form a right angle, and the hind feet are found thrust 
backward, the right to its fullest extent. The left 
fore leg having completed its functions of support, is 
now lifted, and the weight transferred to the right fore 


SOME CONSECUTIVE PHASES OF THE GALLOP. 


foot alone, which is soon found behind the centre of 
gravity; the left hind foot passes to the front of the 
‘right fore leg, which, exercising its final act of pro- 
pulsion, thrusts the horse through the air; the left 
hind foot descends; the stride is completed, and the 
consecutive phases are renewed. From this analysis 
we learn that if the spring is made from the right fore 


40 ZOOPRAXOGRAPHY 


foot during the rapid gallop of a thoroughbred horse, 
it is supported consecutively by 

The left hind foot. 

Both hind feet. 

The right hind foot. 

The right hind and the left fore feet. 

The left fore foot. 

Both fore feet. 

The right fore foot. : 

From which he springs into the air to re-commence 
the phases with the left hind foot, while the only phase 
in which he has been discovered without support is one 
when the legs are flexed under the body. All of the feet 
at this time are nearly close together and have com- 
paratively little independent motion; this phase, there- 
fore, more persistently than any other, forces itself 
upon the attention of the careful observer, and conveys 
to him the impression of a horse’s rapid motion in 
singular contradiction to the conventional interpreta- 


tion, until quite recently, usually adopted by the - 


Artist. 

It should not be anderson that the term “‘spring”’ 
implies that the body of the horse is greatly elevated 
by that action; were it so, much force would be unneces- 
sarily expended with the result of loss of speed. The 
_ center of gravity of a horse trotting or galloping at a 
high rate of speed will preserve an almost strictly 
horizontal line, the undulations being very slight. 

In the gallop of the horse it is probable there may 
be sometimes a period of suspension between the lift- 
ing of one fore foot and the descent of the other, but 
it has not yet been demonstrated.. 


THE GALLOP 4] 


The method of galloping described applies to the 
horse and its allies, and to most of the cloven and soft- 
footed animals. 

In the gallop of the dog the sequence of foot fall- 
ing and the action of the body is materially different, 
and the animal is free from support twice in each 
stride. 

Assuming that a racing hound after a flight through 
the air with elongated body and extended legs (like the 


THE GALLOP OF THE DOG, 


conventionat galloping horse), lands upon the left fore 
foot, the right fore will next touch the ground; from 
this he will again spring into the air, and with curved 
- body and flexed legs land upon the right hind foot, 
’ while the right fore feet will be half the length of the 
body to the rear. The left hind now descends, another 
flight is effected, and again the left fore repeats its 
functions of support and propulsion. 

These successive foot fallings are common to all 
dogs when galloping, and it.is worthy of note that the 
same rotary action in the use of the limbs is adopted in 
the gallop of the elk, the deer and the antelope, all of 


42 ZOOPRAXOGRAPHY 


which animals, like the dog, can for a time excel the 
horse in speed. 

A search through all the dictionaries published at 
the time of writing, and accessible to the Author, fails 
to discover a correct definition of ‘the gallop.’ This 


motion is in America frequently miscalled the ‘‘run,”’ — 


and its execution ‘‘running,’’ but no corresponding 
explanation of the word is given by any lexicographer. 
In Scott’s ‘‘ Lady of the Lake’? occurs ‘‘Then 
faint afar are heard the fect of rushing steeds in gallop 
fleet,”’ many other distinguished ‘Author refer to 
the same action by the same name, by which, or its 
equivalents, it is universally known i in Europe. 


THE LEAP. 


There is little essential difference in general char- 
acteristics of either of the several movements that have 
been described, but with a number of experiments 
made with horses while leaping, no two were found to 
agree in the manner of execution. The leap of the 
same horse at the same rate of speed, with the same 
rider, over the same hurdle, disclosed much variation 
in the rise, clearance, and descent of the animal. A 
few phases were, however, invariable. While the 
horse was raising his body to clear the hurdle, one 
hind foot was always in advance of the other, which ex- 
ercised its last energy alone. 

On the descent, the concussion was always first 
received by one fore foot, followed more or less rap- 
idly by the other, sometimes as much as 30 inches in 
advance of where the first one struck; the hind feet 
were also landed with intervals of time and distance. 


. 
‘ ’ 
. t 
Ee iS ee ee, a a ee ee ee ee ee 


a 


THE LEAP 43 


No attempt will be made to analyze the consecutive 
phases of various other acts of Animal Locomotion, 
such as rearing, bucking, kicking, tossing, etc., on 
account of the irregularity which characterizes their 
execution, and the difficulty of obtaining reliable data. 

The Author has vainly sought for the rules which 
govern the hind feet of a playfully disposed mule; but 
the inquiry has usually been unsatisfactory, and upon 
some occasions disastrous. Should these movements 
be controlled by any general law, it is of such a com- 
plex nature that all attempts to expound it have 
hitherto been fruitless. 

The figures in the series of circles (see appendix 
A) were selected from 


‘C ANIMAL LOCOMOTION ”’ 
and arranged by the Author for his less ambitious work, 


‘SPOPULAR ZOQPRAXOGRAPHY.’”’ 


(See Appendix C). 

They were traced by the well known artist, Erwin 
Faber, and are reproduced one-third the diameter of 
the circles arranged for the zodpraxiscope. Many of 
the original phases of movement are omitted on ac- 
count of the optical law which in the construction of a 
zoopraxiscope requires that the number of illustrations 
must bear a certain relationship to the number of 
perforations through which they are viewed. 

The popular number of thirteen having been 
selected for the latter, the same number of figures 
illustrate actions without lateral progressive motion. 

When the number of illustrated phases is less 
than the number of perforations, the succession of 


44 ZOOPRAXOGRAPHY 


phases is in the direction of the motion, and the dise 
is necessarily revolved in a reverse direction. 

When the number of phases is greater than the 
number of perforations, the phases sueceed each other 
in a direction contrary to that of the motion, and the 
disc is revolved in the direction of the motion. 

An increased or diminished number of figures will 
respectively result in an increased or diminished 
apparent speed of the object. 

For further information on the subject, the reader 


is referred to the 
: ZOOPRAXISCOPE. 


APPENDIX A. 


SYLLABUS OF A COURSE OF TWO LECTURES 


ZOOPRAXOGRAPHY 


THE SCIENCE OF ANIMAL LOCOMOTION IN ITS RELA- 
TION TO DESIGN IN ART. 


Origin of the Author’s Investigations—Diagram of 
the Studio at the University of Pennsylvania where the 
Investigation was conducted—Batteries of Cameras, 
Electro-exposers, Contact-motor, Chronograph, and other 
apparatus used for photographing consecutive phases of 
animal movements—Method of obtaining successive ex- 
posures of moving objects synchronously from several 
different points of view—Normal Locomotion of Animals 
—Twelve consecutive phases of a single step of the Horse 
while walking; also of the Ox, Elk, Goat, Buffalo, and 
other cloven-footed animals; the Lion, Elephant, Camel, 
Dog, and other soft-footed animals; of the Sloth while 
suspended by its claws, and of the Child while crawling 
on the ground; of man walking erect—The Normal 
Method of Locomotion by all animals essentially the 
same—The Quadrupedal Walk as interpreted by Pre- 
historic Man, by the Egyptians, Assyrians, Phcenicians, 
’ Etruscans, Greeks, Romans, Byzantines, and by eminent 
artists of medieval and of modern times—The Statue of 
Marcus Aurelius the great source of modern errors; Mar- 
eus Aurelius in London, Edinburgh, Glasgow, Dublin, 


Paris, Berlin, Amsterdam, New York, Boston, and many 
, 1 


2 THE ZOOPRAXISCOPEH 


other cities—Albert Durer, Verrocchio, Meissonier, Paul 
Delaroche, Landseer, Rosa Bonheur, Elizabeth Thompson 
Butler, &c.—Other Quadrupedal movements, the Amble, 
Rack, Trot and Canter—Twelve phases in the Gallop of 
a Horse—Origin of the modern representation of the Gal- 
lop—Gallop as depicted by the Hittites, North American 
Indians, Egyptians, Assyrians, Greeks, the medieval 
artists—The modern conventional gallop; evidences of its 
absurdity; acknowledgment by the Artist of the necessity 
of reformation—Leap of the Horse, Kick of the Mule, 
&c., all illustrated by photographs the size of life, from 
nature, and comparisons made with the interpretation of 
the same movements by artists of pre-historic, ancient, 
medieval and modern times—Demonstration of the action 
of the primary feathers in the wing of a Bird while Fly- 
ing, and asolution of the complex problem of Soaring. 
AFTER THE VARIOUS METHODS OF LOCOMOTION HAVE BEEN 


DEMONSTRATED BY ANALYSIS, THEY WILL BE REPRESENTED S8YN- 
THETICALLY BY THE ZOOPRAXISCOPE, 


ou ht ee 


ZOOPRAXOGRAPHY 3 


Among the many Institutions where Mr. Muybridge has had the 
honor of Lecturing on 


ZOOPRAXOGRAPHY 


are the following:— 


Royal Academy of Arts, London. 
Royal Society of London. 
Royal College of Surgeons, London. 
Royal Institution of Great Britain. 
_ Royal Dublin Society. 
Royal Geographical Society. 
Royal Institution, Hull. 
British Association for the Advancement of Science. 
Linnean Society, Zoological Society. 

Art and Science Schools, South Kensington Museum. 
London Institution, Glasgow Philosophical Society. 
Newcastle Literary and Philosophical Society. 
Birmingham Natural History and Microscopical Society. 
Town Hall, Birmingham; Nottingham Arts Society. 
Manchester Athenzeum. 

University of Oxford. 

Eton College, Clifton College. 
Wellington College, Yorkshire College, 
Rugby School, Charterhouse. 
Leeds Mechanics’ Institute. 

Sheffield Literary and Philosophical Society. 
Belfast Natural History and Philosophical Society. 
Warrington Literary and Philosophical Society. 
Yorkshire Philosophical Society, Bristol Naturalists’ Society. 
Bath Associated Scientific and Art Societies. 
Ipswich Scientific Society, Photographic Society of Ireland. 
Liverpool Associated Literary, Scientific and Art Societies. 
St. George’s Hall, Liverpool. 

School of Military Engineering, Chatham. 

The School of Fine Arts; Hall of the Hemicycle, Paris. 
The Society of Artists, Berlin. 

The Society of Artists, Vienna. 

The Society of Artists, Munich. 

The Urania Scientific Society, Berlin. 

The Polytechnic High School, Vienna. 

The Polytechnic High School, Munich. 

The University of Turin. 

The ‘‘ Cercle de L’Union Artistique,” 

The Studio of M. Meissonier in Paris, Etc., Ete., Ete. 


And at all the principal Institutions of Art, Science, Education and 
Learning in the United States of America. 


a 


4 THE ZOOPRAXISCOPE 


1 ATHLETE, Horsb-BpAck SoMERSAULT. 


ABBREVIATED CRITICISMS. 


‘©On Monday last, in the theatre of the Roya Insri- 
TUTION, a Select and representative audience assembled to 
witness a series of the most interesting demonstrations of 
Animal Locomotion given by Mr. Muybridge. 

‘<The Prince and Princess of Wales, Princess Victo- 
ria, Louise, and Maud, and the Duke of Edinburgh hon- 
ored the occasion by their presence; likewise did I note 
among the brilliant company Earl Stanhope, Sir Frederick 
Leighton, P.R.A.; Professors Huxley, Gladstone, and 


ZOOPRAXOGRAPHY 5 


2. ATHLETES. BoxIna. 


Tyndall; and last, not least, Lord Tennyson, poet lau- 
reate. 

‘“‘Mr. Muybridge exhibited a large number of photo- 
graphs of horses galloping, leaping, etc. . . . By 
the aid of an astonishing apparatus called a Zoopraxt- 
SCoPE, which may be briefly described as a magic lantern 
run mad (with method in the madness), the animals 
walked, cantered, ambled, galloped, and leaped over hur- 
dles in a perfectly natural and lifelike manner. I am 
afraid that, had Muybridge exhibited his ZoopraxiscoPE 
three hundred years ago, he would have been burned as a 


6 THE ZOOPRAXISCOPEH 


3. ATHLETES RUNNING. 


wizard. . . . After the horses came dogs, deer, and 
wild bulls. Finally man appeared (in instantaneous pho- 
tography) on the scene, and ran, leaped, and turned back 
somersaults to admiration.” —GrorcEe AUGUSTUS SALA in 
Illustrated London News. | 

‘¢ Both scientific and artistic circles in London are at 
present greatly interested in the triumphs of Mr. Kadweard 
Muybridge in photographing the successive phases of ani- 
mal movements. Our leading biologists and artists have 
at once perceived and acknowledged the vast importance 
of the results of his work.”— The Times, London. 


ZOOPRAXOGRAPHY ¢ 


5. ATHLETE, RuNNING HicH JUMP. 


‘¢The Archbishop of York occupied the chair. 
His Grace congratulated the crowded and distinguished 
audience on the opportunity afforded them of hearing Mr. 
Muybridge, and said that to everybody who felt’ an inter- 
est in the phenomena of motion, the magnificent results 
of the investigation carried on by Mr. Muybridge and the 
University of Pennsylvania were wonderfully instructive.” 
— York Herald. 

‘¢His audiences have been drawn from the very first 
ranks of art, science, and fashion.”—British Journal of 
Photography. 


8 THE ZOOPRAXISCOPH 


6. ATHLETE, STANDING Lone JUMP. 


_**These demonstrations are marvellously complete, 

exceedingly abundant and rich in suggestion and 

instruction, and appeal to almost every class or condition 
of humanity.” — Saturday Review, London. 


‘¢Mr. Muybridge delighted his audience with his won- 
derful photographs.”— The Times, London. 


« , , . Last night Mr. Muybridge gave his final 
lecture in Newcastle on ‘The Science of Animal Locomo- 
tion,’ with the whole of the wonderful illustrations; the 
Art Gallery being again crowded to excess.”—Wewcastle 
Chronicle. 


ZOOPRAXOGRAPH Y 9 


11. ATHLETES. Bask Bau; BAarrina. 


‘¢ A photographic achievement which seemed to me at 
the time scarce credible, and which I was presently assured 
by one of our ablest English photographers was abso- 
lutely outside the bounds of possibility.” —PRrorrssor 
R. A. Procror in the Gentleman’s Magazine. 


‘At the conversazione of the Royal Society much in- 
terest was excited by Mr. Eadweard Muybridge’s lecture. 
~The Zoorraxtscops afforded the spectator an opportunity 
of studying by synihesis, the facts of motion which are 
aiso demonstrated by analysis.” —Zllustrated London 


News. 


10 THE ZOOPRAXISCOPE 


14. Boys Puayrine LEAP-FROG. 


‘©A really marvellous series of plates.”— Mature, 


London. 


‘«¢ Artistic people are all talking about Mr. Muybridge, : 
who has come hither with that rare desideratum—some- 
thing new.”—London OorresponDENCE, Philadelphia. 
Times. 

‘< Tt is impossible to do justice in this short time to the 
extraordinary exhibition given by Mr. Muybridge at the » 
Institute of Technology. . . . The interest they ex- 
cite in the mind of the spectator is indescribable.” — Sun- 
day Gazette, Boston. 


— =. a 


ZOOPRAXOGRAPHY i 


16. CHILDREN RUNNING. 


‘<The photographs have solved many complicated 
questions as to animal locomotion.” — Art Journal, Lon- 
don. . 

<The effect was weird, yet fascinating. Plaudit fol- 
lowed plaudit. A better pleased assemblage of people it 
would be difficult to find.” — Boston Journal. 

© ., . . Mr. Muybridge then gave his famous lec- 
ture and demonstration on Animal Locomotion. The hall 
(St. James’) was crowded, and many were unable to ob- 
tain seats.”—Report of the Photographic Convention, 
British Journal of Photography. 


12 THH ZOOPRAXISCOPH 


17%. ELEPHANT AMBLING. 


<¢ A demonstration that vividly interests all the world.” 
—P Illustration, Paris. 


‘«¢ Many of these pictures have great—indeed, astonish- 
ing—beauty. The interest which they present from the 
scientific point of view is three-fold :—(a) They are im- 
portant as examples of a very nearly perfect method of 
investigation by photographic and electrical appliances. 
(0) They have also a great value on account of the actual 
facts of natural history and physiology which they record. 
(c) They have, thirdly, a quite distinct, and perhaps their 
most definite, interest in their relation to psychology.”— 
Pror. E. Ray Lanxesstsr, F. R. 8., in Nature. 


ZOOPRAXOGRAPHY 13 


18. Lion WALKING 


‘¢ Mr. Meissonier’s critical guests were evidently scep- 
tical as to the accuracy of many of the positions; but when 
the photographs were turned rapidly, and made to pass 

‘before the lantern, their truthfulness was demonstrated 
most successfully.” — Standard, London. 


‘¢ Meissonier, devoting himself to his friends, evident- 
ly cared little for personal compliments; he was anxious 
for the well-deserved distinction of his protégé Muybridge. 
. . . ‘£Cest merveilleusement arrangé!’ said Alex- 
andre Dumas. ‘C’est que la nature compose cranement 
bien!’ replied Meissonier.”—Ze Temps, Paris. 


14 THE ZOOPRAXISOOPH 


20. Ea@ypTraAN -CAMEL RACKING. 


««The sensation of the day, and the topic of popular 
conversation.” ——Boston Daily Advertiser. 


«The rapid movements by different animals were most 
interesting: and hurdle-racing by horses—the very whip- 
ping process being visible—brought down the house.”— 
Boston Herald. 


‘¢On revolving the instrument, the figures that have 
been derided by so many as impossible absurdities, started 
into life, and such a perfect representation of a racehorse 
at full speed as was never before witnessed was immedi- 
ately visible.” — The Field, London. 


ZOOPRAXOGRAPHY 15 


21. BABOON WALKING, 


‘¢ Mr. Muybridge showed that many of our best artists 
have been in the habit of depicting animals in positions 
which they never assume in nature.”— Chambers’ Kdin- 
burgh Journal. 


‘«'The large school-room (Clifton College) was crowded. 


_ The head master presided. Loud applause and frequent 


laughter greeted the life-sized photographs from nature, 
which by a rapid revolution of the Zoopraxtscopr, showed 
among other actions, the ambling of an elephant, the 
gallop of a race-horse, the somersault of a gymnast and 
the flight of a bird.” — Bristol Mercury. 


16 THE ZOOPRAXISCOPE 


22. KANGAROO JUMPING. 


«<The lecture theatre of the Royat Acapremy or Arts 
was filled to overflowing.” — Atheneum, London. 


‘<The Royal Dublin Society’s Theatre was filled to its 
utmost capacity yesterday afternoon, when Mr. Muybridge 
resumed his course of Lectures. The demonstration is 
simply marvellous.” —Daily Hapress, Dublin. 


‘“'The result of years of labor, and of large expendi- 
ture of money is at last laid before the public in this mag- 


nificent work, and the result is one of which Mr. Muy- 


bridge and the University of Pennsylvania may well be 
proud.” —Evening Post, New York. 


ZOOPRAXOGRAPHY 17 


23. BuFFALO GALLOPING. 


<¢ A Lecture of an exceptionally interesting character.” 
—Nottingham Guardian. 


‘There was a crowded attendance. Throughout the 
lecture Mr. Muybridge retained the close interest of his 
audience, and drew from them frequent and warm ap- 
plause.”—The Scotsman, Kdinburgh. 


‘¢In all my long experience of London life I cannot 
recall a single instance where such warm tributes of admi- 
ration have been so unsparingly given by the greatest in 
the land, as in the case of Mr. Muybridge’s lectures.”— 
OxivE Logan in the Morning Call, San Francisco. 


18 THE ZOOPRAXISCOPH 


24, ELK GALLOPING. 


‘‘Mr. Muybridge illustrated his lecture with a series 
of most valuable photographs, as well as that most fasci- 
nating of scientific toys—the ZoopRaxiscorr.”—Maga- 
zine of Art, London. 


‘‘His labors attracted considerable attention in the 
world of science, while among artists and art critics a 
pretty controversy set in on the subject of the horse and 
his representation in art, which is likely to be revived and 
extended to other fields. . . . With Mr. Muybridge, 
«Instantaneous Thowsra has acquired a new signifi- 
cance, . . .”—Saturday Review, London. 


* Tel’ — ™ a i a 
aS eae Te ee, 


ZOOPRAXOGRAPHY Lo 


25. Monkeys Ciimprna A Cocoa Pam. 


<< No parallel in the history of photography.”-—Pho- 
tographic Times, New York. 

<¢ An exhibition which Raphael, Tintoretto, Michael 
Angelo, and other great masters of the Renaissance would 
have travelled all over Europe to see.” —Hvening Tran- 
script, Boston. 

«<The audience was astonished and delighted at the 
marvellous demonstrations of Animal Locomotion that 
were brought before them. . . . The most remarka- 
ble feature of the British Association meeting this year.” 
—Newcastle Journal. 


20 THH ZOOPRAXISCOPE 


28. GREYHOUND GALLOPING. 


‘<The effects of the ZoopraxiscorpE made up one of 
_the most unique and instructive entertainments imagina- 
ble.” — Boston Daily Globe. 


«cA more curious, entertaining, and suggestive exhibi- 
tion it has not been our good fortune for a long time to 
attend.” — Sacramento Record- Union. 

‘¢Kverybody has heard something of the wonderful 
success which Mr. Muybridge has achieved; and in no 
country in the world is greater interest felt in his work, 
particularly as regards horses, than in England.”—Fn- 
gineering, London. 


raat a aliny a SE 


eae. ae ee 


ZOOPRAXOGRAPHY 21 


29. Muue, Buckine AND KICKING. 


<<Simply marvels of the photographer’s art.”—Mer- 
cury, Leeds. 


‘¢ Not the least instructive part of the Lecture was the 
contrast between the positions of animals as shown in 
ancient and modern art, with their true positions as shown 
by themselves in the camera.”—-New York Tribune. 


‘¢Professor Marey invited to his residence a large 
number of the most eminent men in Europe for the pur- 
pose of meeting Mr. Muybridge, and witnessing an exhi- 
bition that should be placed before the whole Parisian 
public.”—Le Globe, Paris. 


22 THE ZOOPRAXISCOPE 


- $2. Pranons FLYING. 


‘<The art critic and the connoisseur will find a study . 
of Mr. Muybridge’s work of inestimable value in aiding 
them to criticize intelligently.”— Pennsylvanian, Prila- 
delphia. 

‘<The applause which greeted these wonderful pictures 
from the brilliant company was hearty in the extreme ; 
and all predicted a new era was open to art, and new re- 
sources made available for the use of artists.” —Galig- 
nani’s Messenger, Paris. 7 

‘*Of immense interest and value.”—Lippincott’s Mag- 
azine, Philadelphia. 


ZOOPRAXOGRAPHY 23 


34. GRECIAN DANCING GIRLS 


“<The Zoopraxiscope is the latest, most unique, and 
instructive form of amusement possible.” — Commercial 
Gazette, Cincinnati. 


‘¢His work at once attracted the attention of the 
world.” — Scientific American, New York. 


‘¢Of much interest and value, as well as a source of 
creat amusement.”— Observer, London. 


‘The realism of the motions of the various animals 
was intense, and the audience was very enthusiastic.” — 
Boston Post. 


24 THE ZOOPRAXISOOPE 


39. Horse TRorTiInG (fast). 


‘‘The Lecturer proceeded to show enlarged photo- 
graphs of various animals in motion, as the horse, dog, 
lion, mule, cat, etc. . . . These were followed by 
some very striking pictures of the flight of birds, which 
from a scientific standpoint were by far the most interest- 
ing and valuable of the photographs shown during the 
evening.” — Lancet, Lendon. 


‘‘Of extreme interest, not only to the artists and 
scientists, but to the greater part of his audience, who 
were neither the one or the other.”— Birmingham Daily 
Gazette, : 


ZOOPRAXOGRAPHY 25 


41. Horse CANTERING. 


<A host of well-known scientists and artists are 
greatly interested in this remarkable work.”—Pall Mall 
Gazette. 


‘¢The lecture on Tuesday night more than fulfilled the 
expectations which the audience had formed of Mr. Muy- 
bridge’s researches.” — Belfast News Letter. 


‘‘Mr. Muybridge might well be proud of the recep- 
tion accorded him by his distinguished audience; it would 
have been difficult to add to the éclat of his appearance, 
and his lecture was welcomed by a warmth as hearty as it 
was spontaneous.” —- The Photographic News, London. — 


26 THE ZOOPRAXISCOPE 


42, Horse GALLOPING 


‘‘ The illustrations are truly wonderful, and the rapid 
changing positions were most instructive.” —Wottingham 
Express. 


‘<The concert room was crowded. . . . A vote 
of thanks to the Lecturer was proposed by his Grace the 
Archbishop.” — Yorkshire Chronicle. 


‘¢ A very brilliant audience was assembled at the Royal 
Institution. . . . The photographs properly studied 
should be most valuable in affording truer and more exact 
data for the painter to base his work upon. . . .”— 
The Builder, London. : 


~ 


ZOOPRAXOGRAPHY 27 


48. Horse JUMPING. 


A very important subject to all those interested in 
art.” — Belfast News Letter. 


‘‘It is now nine years since the photographs of Mr. 
Kadweard Muybridge surprised the world by challenging 
all received conceptions of animal motion.” — Century 
Magazine, New York. 


‘The interest excited by the novelty, both of the 
demonstrations and the results, was so great, that Mr. 
Muybridge has been invited by the Photographic. Society 
of Ireland to repeat them to-night in a public lecture.” — 
The Freeman’s Journal, Dublin. 


28 THE ZOOPRAXISOCOPE 


44. Horse HAvLine. 


‘¢The audience filled the large hall, and by their fre- 
quent and hearty applause, expressed their appreciation of 
the lecture.” —Jrish Times, Dublin. 


‘« A very large audience again assembled in the Town 
Hall last evening, on the occasion of the second Lecture 
by Mr. Muybridge. The Mayor, who presided, referred 
to the first Lecture as perhaps the most unique ever deliy- 
ered in Birmingham.”— Birmingham Daily Gazette. 


‘¢The attendance was exceedingly large, and the Lect- 
ure and admirable illustrations were loudly applauded.” 
—The Irish Times, Dublin. 


ZOOPRAXOGRAPHY 29 


45. COLUMBIAN ExpostTIon Horse Race, GALLOPING. 


«There was a very large attendance, and seldom have 
we seen so much genuine admiration and enthusiasm dis- 
played as were evoked by Mr. Muybridge’s illustrations, 
which were really wonderful.” — The Daily EHapress, 
Dublin. 

<There was a crowded audience, and the Lecture, 
which was listened to with the greatest interest, was 
warmly applauded.” — The Hreeman’s Journal, Dublin. 


‘No description can do justice to the extent and 
variety of the subjects presented in this thorough study of 
animal movements.”— Ledger, Philadelphia. 


50 THE ZOOPRAXISCOPH 


46. CoLUMBIAN Exposttion Horst Race, TROTTING. 


‘¢ Wonderful and interesting demonstration; its influ- 
ence will become more and more potent and universal as 
the years go on.” —Argus, Albany. 

‘¢Will necessarily revolutionize the treatment of the 
action of the horse in painting and sculpture. For the 
physiological study of animal movements these pictures 
are a veritable treasure.” —Landwirthschaftliche- Zeitung 
Vienna. | ei 

‘Lam lost with admiration of these photographs of 
Mr. Muybridge.”—Prorressor Marry, in La Nature, 
Paris. ae 


ZOOPRAXOGRAPHY ol 


47. COLUMBIAN EXPosITION SPEEDWAY. 


<‘Tnteresting and instructive to all.”—New York 
Herald. 

‘‘ Highly interesting and valuable for every lover of 
horses.” —-//lustrirte Zeitung, Berlin. 


«*We cannot more fittingly conclude our review than 
by repeating our recommendation of the work to all artis- 
tic and scientific bodies.” — The Nation, New York. 

‘<¢So perfect was the synthesis that a dog in the lecture 
room barked and endeavored to chase the phantom horses 
as they galloped across the screen.” — Berkeley Weekly 
News. 


32 THE ZOOPRAXISCOPE 


‘« Noted artists, such as Menzel, Knaus, Begas; eminent 
scientists, such as von Helmholtz, Siemens and Forster 
and even the imperturbable field-marshal, Count von 
Moltke, were enthusiastic in their applause.” —J Justrirte 
Zeitung. 

‘A very large number could not obtain admission, so 
great was the desire to hear the lecture. . . . A won- 
derful surprise even to the careful observer of Nature.”— 
Die Press, Vienna. 

‘The lecture was received with stormy applause.”— 
Berliner Post, Berlin. 

‘The lecture was given in a popular manner, with 


ZOOPRAXOGRAPHY 33 


49. A Fan FLIRTATION. 


scientific accuracy and artistic taste. . . . . The 
room was filled to the last corner; nearly all the Royal 
Family and the Ministers were present.” —Miinchener 
Neueste Nachrichten, Munich. 

‘¢ After attending Mr. Muybridge’s demonstrations, we 
felt no surprise at his having been received so enthusi-. 
astically in Paris.” —Berliner Tugeblatt, Berlin. 

«The lectures of Mr. Muybridge are unquestionably 
the most intensely interesting we ever listened to. No 
one in Berlin should fail to attend them.”— Norddeutsch 
Allgem Zeitung, Berlin. 

‘¢Some lectures are too technical for the general public. 


B4° THE ZOOPRAXISCOPE 


50. ATHLETE, Runnine Lone Jump. 


Here is one in which everybody is interested. The Lecture 
Theatre was crammed to repletion; we thought a few 
vacant places might have been reserved for those whose 
pleasant duty it is to record the brilliant success of Mr. 
Muybridge.”— Pall Mall Budget, London. 

‘So great an interest did the demonstrations excite that 
Mr. Muybridge was unanimously requested to repeat them. 
Two days afterward this distinguished company, includ- 
ing the venerable Field-Marshal (Count von Moltke) 
himself, attended a repetition of the lecture.” —J llustrirte 
Zeituny. 


APPENDIX B. 


ANIMAL LOCOMOTION. 


DESCRIPTION OF THE PLATES. 


The results of the investigation executed for the Uni- 
versity of Pennsylvania are 


SEVEN HUNDRED AND EIGHTY-ONE SHEETS OF ILLUS- 
TRATIONS, 


containing more than 20,000 figures of men, women, and 
children, animals and _ birds, actively engaged in walking, 
galloping, flying, working, jumping, fighting, dancing, 
playing at base-ball, cricket, and other athletic games, or 
other actions incidental to every-day life, which illustrate 
motion or the play of muscles. 

These sheets of illustrations are conventionally called 
- “plates.” 


EACH PLATE IS COMPLETE IN ITSELF WITHOUT REFERENCE 
TO ANY OTHER PLATE, 


and illustrates the successive phases of a single action, 
photographed with automatic electro-photographic ap- 
paratus at regulated and accurately recorded intervals of 
time, consecutively from one point of view; or, consecutively 
AND synchronously from two, or from three points of view. 


A series of twelve consecutive exposures, from each of 
the three points of view, are represented by an outline 
tracing on a small scale of plate 579, a complete stride of 
a horse walking; the intervals of exposures are recorded 
as being one hundred and twenty-six one-thousandths of 


a second. 
1 


ZOOPRAXOGRAPHY 


« NOILOWOOOT TYWINY ,,—6L¢ ALVId JO ONIOVAL HNITLOO GHoOndaa 


ANIMAL LOCOMOTION 


“LIS ALVId AO SONIOVUL GHOnNdHa 


7 ZOOPRAXOGRAPH Y 


When one of the series of foreshortenings is made at a 
right angle with the lateral series the arrangement of the 
phases is usually thus: 


Laterals. 


——|—_|_| __|_|—_|—_-_| Rear Foreshortenings 
from points of view on. 


yes at an angle of 90 deg. 
from the Laterals. 


Front Foreshortenings 
from points of view on 
the same horizontal 
plane, at suitable an- 

1 | B80) 445-156 a 8s Garena eics wiles frenethe Listees i 


The plates are not photographs in the common accepta- 
tion of the word, but are printed in PerMANENT Inx, from 
gelatinised copper-plates, by the New York Photo-Gravure | 
Company, on thick linen plate-paper. , 

The size of the paper is 45 x 60 centimetres—(19 x 24 
inches), and the printed surface varies from.15 x 45 to 
20 x 30 centimetres—(6 x 18 to 9 x 12 inches). 

The number of figures on each plate varies from 12 to 36. 

To publish so great a number of plates as one undivided 
work was considered unnecessary, for each subject tells its 
own story; and inexpedient, for it would defeat the object 
which the University had in view, and limit its acquisition 
to wealthy individuals, large Libraries, or Institutions 
where it would be beyond the reach of many who Teue 
desire to study it. 

It has, therefore, been decided to issue a series of One 
Hundred Plates, which number, for the purposes of pub- 
lication, will be considered as a ‘*copy” of the work. 
These one hundred plates will probably meet the require- 
ments of the greater number of the subscribers. | 

In accordance with this view is re-issued the following 
prospectus. 


the same vertical line,” . 


ANIMAL LOCOMOTION a) 


PROSPECTUS 


ANIMAL LOCOMOTION, 


AN ELECTRO-PHOTOGRAPHIC INVESTIGATION OF CONSECUTIVE 
PHASES OF ANIMAL MOVEMENTS, 


BY 


EADWEARD MUYBRIDGE. 
Commenced, 1872—Completed, 1885. 
PUBLISHED 1887, UNDER THE AUSPICES OF THE 
UNIVERSITY OF PENNSYLVANIA. 
Haclusively by Subscription. 

CONSISTING OF A SERIES OF 
ONE HUNDRED PLATES, 

AT A SUBSCRIPTION PRICE OF 

Ont Hunprep Do.iars 

For the United States, or 
TWENTY GUINEAS 
For Great Britain; 
Or the equivalent of Twenty Guineas in the gold currency 
of other countries in Central or Western Europe. 

The Plates are enclosed in a strong, canvas-lined, full 
American-Russia LeatHEerR Portro.io. 

Additional Plates in any required number will be sup- 
plied to the subscriber at the same proportionate rate; 
these, however, must be ordered at the same time as the 
subscription Plates. 

It was considered inadvisable to make an arbitrary 
selection of the one hundred Plates offered to subscribers, 
and with the object of meeting, as far as possible, their 
diverse requirements, they are invited to make their own 
selection, either from the subjoined list of subjects, or 


6 ZOOPRAXOGRAPHY 


from a detailed catalogue, which will be forwarded free 
of expense to every subscriber. 

The following are the numbers of Plates published of 
each class of subjects, from which the subscriber’s ‘selec- 
tion can be made:— 


Class. Plates Published. 
1. Men, draped .....------ 25 -Seeweew es eee 6 
Paes pelvis cloth....22.2.- 52232 -eeee eee 72 
Rice nude:.so5- 5-2-2 Le eee 133 
4, Women, draped.....--.---.-----+---4--0-se== 60 
5. o transparent drapery and semi-nude.... 638 
6. es nude: 2-.- women Henne es enenscennee 180 
”. Children, draped -...-..-.--_ ---4 ioe -swweeee 1 
8. nude... -s--2-255 ase eee ae 15 
4 Movements of a man’s hand..--:-:.----.----- 5 
10. Abnormal movements, men and women, nude 
and semi-nude...2:%u.!) s¢: 2aeeeeet eee 
11. Horses walking, trotting, galloping, jumping, &c. 95 
12. Mules, oxen, dogs, cats, goats, and other do- 
mestic animals..... .-2-4822.c25e-seeeee 40 
13. Lions, elephants, buffaloes, camels, deer, and 
other wild animals_-...--.----- Pee Rest 57 
14, Pigeons, vultures, ostriches, eagles, cranes and 
other birds..23 =. -3<.s. 3 cee" Peeeeoee eee 27 
Total number of Plates....---.---..--- 781 ‘ 


Containing more than 20,000 Figures. 


Should the selection be made from the Catalogue, it 
will be advisable to give the Author permission to change 
any one of the selected Plates for any other illustrating 
the same action, if, in his judgment, the substituted Plate 
illustrates that action with a better model, or in a more 
perfect manner than the one selected. 

With regard to the selection of Plates, however, it 
has been found by experience that unless any special sub- 
ject or plate is required it will be more satisfactory to the 
subscriber if he gives the Author GENERAL IN- 


ANIMAL LOCOMOTION 7 


STRUCTIONS as to the CLASS of subjects desired and 
to leave the SPECIFIC selection to him. 

Many of the large Libraries and Art or Science .nsti- 
tutions in America and in Europe have subscribed for, 
and have now in their possession, a complete series of the 
seven hundred and eighty-one Plates, the subscription 
price for which is 


FIVE HUNDRED DOLLARS 
in the United States, 
ONE HUNDRED GUINEAS 
in Great Britain for the complete series, in eight full 
AMERICAN-RUSSIA LEATHER PORTFOLIOS, or if bound in 
eleven volumes, each plate hinged, full American-Russia 
leather, 
FIVE HUNDRED AND FIFTY DOLLARS 
in the United States, 
ONE HUNDRED AND TEN GUINEAS 


in Great Britain; or its equivalent for any city in Central 
or Western Europe. 

Subscribers who wish to make use of these Plates for 
the promotion or diffusion of knowledge, or for artistic or 
scientific purposes, will be afforded facilities for acquir- 
ing working copies by special arrangement with the 
Author. 

The investigations of the Author are so well known; 
and so generally recognized as affording the only basis of 
truthful interpretation or accurate criticism of Animal 
Movement, that it is perhaps scarcely necessary to quote 
from the many elaborate reviews of ‘‘ Animal Locomo- 
tion,” which have been published in the American, Eng- 
lish, French, and German Scientific, Artistic, and other 
Journals. A few extracts therefrom are however given in 
Appendix A. 

For the value of the present work to the general stu- 


8 ZOOPRAXOGRAPHY 


dent of Nature and the lover of Art, no less than to the 
Artist and the Archeologist, the Physiologist and the 
Anatomist, it is with much pride and gratitude that he 
refers to the annexed list of some of his subscribers. 


SUBSCRIBERS. 
The general or departmental Libraries of the following 


UNIVERSITIES. 

Amsterdam Freiburg Konigsberg Prag 
Andrews, St. Genéve Leiden Roma 
Basel Genova Leipzig Rostock 
Berlin Glasgow Liége Strassburg — 
Bern Gottingen Louvain Torino 
Bologna Griefswald Miinchen Tiibingen 
Bonn , Hallé Napoli Utrecht 
Breslau Heidelberg Oxford Wien 
Bruxelles Innsbriick Padova Wiirzberg 
Edinburgh Jena ~ Pisa Ziirich 


| Erlangen Kiel 


IMPERIAL, NATIONAL, OR ROYAL ACADEMIES OF FINE ARTS. 


Amsterdam Budapest Liége Roma (de 
Antwerpen Dresden London ~ France) 
Berlin Diisseldorf Manchester Sheffield 
Bern Firenze —- Milano Torino 
Birmingham Frankfurt .Miinchen Venezia 
Bologna Genova Napoli = Wien 
Breslau Gent Paris Ziirich 
Bruxelles Leipzig Praha 


Architectural Institute, Miinchen 
Herkomer School of Art, Bushey 
ART MUSEUMS. ae 
Amsterdam Berlin _. Budapest 


ARCHAOLOGICAL INSTITUTES AND MUSEUMS, 
Dresden: Konigsberg Rostock ~ Wirzburg 


ANIMAL LOOOMOTION 


Griefswald Leipzig Strassburg  Ziirich 
Heidelberg Prag Wien 

INDUSTRIAL ART AND SCIENCE MUSEUMS. 
Berlin | Edinburgh ‘Paris Wien 
Dublin Kensington 

INDUSTRIAL aRT SCHOOLS. 
Amsterdam Budapest Niirnberg Ziirich 
Breslau Frankfurt 
LIBRARIES. 


The Royal Library, Windsor Castle. 
Imperial Library, Berlin. 


Birmingham, Free Public 


Edinburgh, Advocates’ 
Glasgow, Mitchell Free 
Liverpool, Free Public 


Bern 
Breslau 
Freiburg 
Hallé 


Edinburgh 


Basel | 
Berlin 
Bern 
Bologna 
Bonn 
Breslau 
Bruxelles 
Erlangen 


ANATOMICAL INSTITUTES. 


Innsbriick 
Kiel 


London, British Museum 
Manchester, Free Public 
Nottingham, Free Public 
Paris, National Library 


Miinchen 


Pisa 


Konigsberg Prag 


Leipzig 


PHYSIOLOGICAL INSTITUTES. 


Freiburg 
Genova 
Gottingen 
Griefswald 
Hallé 
Heidelberg 
Innsbriick 
Jena 


Rostock 


Tibingen 
Wiirzburg 
Zurich | 


ROYAL COLLEGES OF SURGEONS. 


London 


Kiel 
Konigsberg 
Leipzig 
Louvain 
Miinchen 
Napoli 
Prag 
Rostock 


Strassburg 
Torino 
Tubingen 
Wien 
Wiirzburg 
Ziirich 


10 ZOOPRAXOGRAPHY 


VETERINARY INSTITUTES. 


Alfort Bern Berlin Dresden London 
ANTHROPOLOGICAL MUSEUMS. 
Dresden Firenze 


ETHNOLOGICAL, NATURAL HISTORY, AND ZOOLOGICAL 
INSTITUTES AND MUSEUMS. 


Amsterdam Kiel Liége Paris 
Bruxelles Leiden Napoli Rostock 
Freiburg 

PHYSICAL INSTITUTES. 
Basel Genéve Prag Rostock 
Bologna Heidelberg Roma Utrecht 
Bruxelles Padova vie : 


POLYTECHNIC HIGH SCHOOLS. 


Berlin Firenze Wien Ziirich 
COLLEGES. 

Charterhouse Clifton _ Dublin (Trin.) 

Eton Owens _ Wellington 


ROYAL PORCELAIN MANUFACTORIES. 


Berlin Dresden 


ARTISTIC, LITERARY OR SCIENTIFIC CLUBS. 


Diisseldorf, Malkesten London, Atheneum 
Glasgow, Western Rome, Jnternazionale 


Agricultural High School of Berlin 

Faculty of Medicine of Paris. 

Faculty of Physicians and Surgeons of Glasgow 
Psychological Institute of Leipzig 

Royal College of Physicians, Edinburgh 

Royal Institution, Edinburgh 

Royal Dublin Society 

Royal Society of London 


ANIMAL LOCOMOTION 


DEPARTMENTS OF THE U. S. GOVERNMENT. 


Bureau of Education National Museum 
Bureau of Engraving Patent Office 

Bureau of Ethnology Smithsonian Institution 
Department of War Surgeon General’s Office. 


_ Library of Congress 


INSTITUTIONS OF ART AND OF ART TRAINING. 


Baltimore, Maryland Institute. 
Boston, Museum of Fine Arts. 
Chicago, Art Institute. 

- Cincinnati, Art Museum. 
Milwaukee, School of Design. 
Minneapolis, School of Design. 
New Bedford, Swain School. 
New York, Cooper Union. 
New York, Metropolitan Museum of Art. 
New York, National Academy of Design. 
Philadelphia, Academy of Fine Arts. 
Philadelphia, School of Industrial Art. 
Philadelphia, School of Design for Women. 
St. Louis, Museum of Fine Arts. 
Washington, Corcoran Gallery of Art. 


INSTITUTIONS OF SCIENCE. 


Academy of Natural Sciences, Philadelphia. 
American Institute, New York. 

American Philosophical Society, Philadelphia. 
College of Physicians, Philadelphia. 

Essex Institute, Salem. 

Franklin Institute, Philadelphia. 

Museum of Comparative Zoélogy, Cambridge. 
Museum of Natural History, New York. 
Peabody Museum of Yale College. 


12 ZOOPRAXOGRAPHY 
UNIVERSITIES AND COLLEGES. 

Brown Johns HopkinsNebraska Vassar 
Columbia Kansas New York Vermont 
~ Cornell Lehigh Pennsylvania Wellesley 

Harvard Minnesota Princeton Yale 


LIBRARIES. 


Baltimore—Peabody 
Boston—Athenzeum 
Boston—Public 
Brooklyn—L. I. Historical 
Brooklyn Library 
Chicago— Historical 
Chicago—Public 
Cincinnati—Public 
Denver—Mercantile 
Harlem Library 
Massachusetts—State 


Minneapolis—Public 

New Bedford—Public 

New York—Mercantile 
New York—State 
Pennsylvania—State 
Philadelphia Library 

St. Paul—Public 

San Francisco—Public 
Springfield (Mass. )—Public 
Wisconsin—State Historical 
Worcester (Mass. )—Public 


It is impossible within the limits of this appendix to 
record the names of the many well-known Dilettanti, Art 
Connoisseurs, Manufacturers, etc., who have acquired . 
copies of Animal Locomotion, and it is difficult, without 
unjust discrimination, to select a few from among the 
many Kminent Men whose names and works are known 
all over the world and who are subscribers. Among those, 
however, who have honored the Author by placing their 
names on his subscription book—all academical and uni- 
versity distinctions being omitted—are the following : 


ARCHITECTS, PAINTERS OR SCULPTORS. 


Alma-Tadema Faed 


Armitage _— Fildes 
Becker Falguiére 
Begas Fremiet 
Bonnat Frith 


Marks Roth 

du Maurier MRiimann 
Meissonier St. Gaudens 
von Menzel Schilling 


Millais, SirJ. E.Siemering 


ANIMAL LOCOMOTION 13 


Boughton Garnier Morot Story 
Bouguereau Gérdme Munkaesy Thornycroft 
Bridgman Gilbert Orchardson ‘Tiffany 
Burnham Gordigiani Ouless Vibert 
Carolus— Gow Parsons Vinea 

Duran Herkomer Passini Villefroy 
Cavelier Hunt, Holman Poynter Wagner 
Conti, Tito von Kaulbach Puvis, de Ch Watts 
Dalou Knaus Richardson Ward, 
von Defregger Knight Richmond Wells 
Detaille Kopf Riviére-Briton Weeks 
Dubois Leighton, Sirk’. Robert-Fleury von Werner 
Kisenmenger von Lenbach Rodin Whistler 
Ende von Lofftz Roll Ziigel. 

ARCH HOLOGISTS, AUTHORS OF ART WORKS, ETC. 

von Berlepsch von Kekule Pulszky 
Bullen Klein Ruskin 
von Duhn Muntz diSambuy, Conte 
Ewald Overbeck Smith, Gen. SirR. M. 
Falke Pietsch Treu 
Furness, H. H. Preuner Wolff, Albert. ° 


ANATOMISTS, ANTHROPOLOGISTS, BIOLOGISTS, ETHNOLO- 


GISTS, PALZONTOLOGISTS, PATHOLOGISTS, PHYSIOL- 


OGISTS, PSYCHOLOGISTS, ZOOLOGISTS, ETC. 


Acland, Sir H. W. Haughton Mosso 
Agassiz, A. Heidenhain Miiller, Max 
_ Barrier Hering Munk. 
du Bois-Reymond Humphry Owen, Sir R. 
Bowditch Huxley Pasteur 
Bowman, Sir W. Jensink Pepper W. 
Braune, W. von Kolliker Pettigrew 
Brown-Sequard von Kries Powell 


Burdon—Sandergon Lankester Rabl 


14 ZOOPRAXOGRAPHY 


Cleland Leidy Romanes 

Darwin, F. Lubbock, Sir J. Rickert 

Exner, 8. Ludwig Schiff 

Fick Mantegazza Schiitz 

Flower Marey Virchow, R. 

Foster Marshall von Voit 

Galton, F. Meyer Wear—Mitchell 

Gill Milne-Edwards Wood 

Goode, Brown Mivart, W undt 

Hasse Moleschott _ von Zittell. 
PHYSICISTS, ETC. 

Abney Edison Matthiessen 

Blake Glaisher Quincke 

Blazerna von Helmholtz Spottiswoode 

Bramwell, Sir F. Huggins Thomson, Sir W. 

Bunsen Langley Vogel 

Ditscheiner Mach Weber. 


MILITARY SCIENTISTS. 


Field Marshal Count von Moltke 
General U. S. Grant 

General W. T. Sherman 
General P. H. Sheridan 

General R. B. Hayes. 


THE SCIENCE OF ZOOPRAXOGRAPHY. 


Made Popular by Suggestive Tracings from ‘‘Animal Locomotion.” 


A series of Firry Eneravines, each of which illus- 
trates from 12 to 15 consecutive phases of some com- 
plete movement, photographed from life. 

The successive phases of each action are arranged in 
a circle NINE INCHES IN DIAMETER; for reduced copies of 
some of which see appendix A. 

Printed on six-ply Bristol-board and enclosed in 


A STRONG CLOTH PORTFOLIO, 


size 10x12 inches; price, Five Dollars in the United States; 
or One Guinea in Great Britain. 

Sent free of postage upon receipt of price, to any 
country within the Universal Postal Union. 

EADWEARD MUYBRIDG3, 
University of Pennsylvania, 
Philadelphia, U. 8. A. 
Or, at 10 Henrietta Street, 
Covent Garden, London. 


To convert the circles of figures into a 
ZOOPRAXISCOPE, 


cut out the disc, and, radiating from the centre thereof, 
about midway from the margin, cut or stamp thirteen 
equidistant perforations; each an inch long, and about 
the sixteenth of an inch wide. 

Pin the centre of the disc to a handle and revolve it 
in the direction of the arrow, at a distance of about 
twenty-four inches, in front of a mirror. 

_ By looking through the upper series of perforations 
at the reflection of the dower series of figures, a sem- 
blance of the original movements of life will be seen. 

The figures may be appropriately colored, and the 
back of the cardboard disc should be painted a dark 
color, or covered with a piece of dark surfaced paper 
before cutting the perforations. 


DESCRIPTIVE ZOOPRAXOGRAPHY. 


An Elementary Treatise on Animal Locomotion, 
BY 


EADWEARD MUYBRIDGE. 


Illustrated with twelve consecutive phases—occurring 
during a single stride—of each of the six regular progres- 
_ sive movements of the horse, traced from the results of 
an investigation made by the Author for the University of 
Pennsylvania. 

12 mo. bound in cloth. Price in the United etn 
One Dollar; in Great Britain Four Shillings and Three 
Pence. y 
_ Sent upon receipt of price, free of postage to any 
country within the Universal Postal Union. 

EADWEARD MUYBRIDGE, 
University of Pennsylvania, 
Philadelphia, U. S. A. 
Or 10 Henrietta Street, | 
Covent Garden, London. 


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